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“After any disturbance (such as two world wars coinciding with a period of growing economic and monetary incomprehensibility) we find our old concepts inadequate and look for new ones. But it unfortunately happens that the troubled times which produce an appetite for new ideas are the least propitious for clear thinking.”

“Animals are murdered to produce meat; vegetables are torn up, peeled, and chopped; most of what we eat is treated with fire; and chewing is designed remorselessly to finish what killing and cooking began. People naturally prefer that none of this should happen to them. Behind every rule of table etiquette lurks the determination of each person present to be a diner, not a dish.”

“When we blew the first atomic bomb at White Sands near the end of the war, nobody knew what was going to happen. There was a theory that the chain reaction would continue forever. And we would have created a little tiny sun out there in the desert that would burn until the end of the universe. It wasn't a widely held theory but it was a theory that nobody had a way of disproving. There were people who thought it wouldn't go off at all, that it would simply sit out there and melt and produce a great big dirty cloud of radioactivity. Nobody knew.”

“Revenge tries to solve the problem of vulnerability. If I strike back, I transfer vulnerability from myself to the other. And yet by striking back I produce a world in which my vulnerability to injury is increased by the likelihood of another strike. So it seems as if I'm getting rid of my vulnerability and instead locating it with the other, but actually I'm heightening the vulnerability of everyone and I'm heightening the possibility of violence that happens between us.”

“The flapping of a single butterfly's wing today produces a tiny change in the state of the atmosphere. Over a period of time, what the atmosphere actually does diverges from what it would have done. So, in a month's time, a tornado that would have devastated the Indonesian coast doesn't happen. Or maybe one that wasn't going to happen, does.”

“Thought reflexes get conditioned very strongly, and they are very hard to change. And the also interfere. A reflex may connect to the endorphins and produce an impulse to hold that whole pattern forther. In other words, it produces a defensive reflex. Not merely is it stuck because it's chemically so well built up, but also there is a defensive reflex which defends against evidence which might weaken it. Thus it all happens, one reflex after another after another. It's just a vast system of reflexes. And they form a 'structure' as they get more rigid.”

“When you get to really involve yourself with a piece [script] and the other people and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think. And there's an exhaustion that happens on a film set - an exhaustion that translates into a relaxation and helps me to live in the moment, in the performance I'm giving and what's happening around me.”

“Maybe that's what happens with age, I thought. All your life you force yourself to forget people who have hurt you, but as you get older and weaker their memory surfaces again, like a bubble in the water. You have to surrender, because you feel to tired to fight it and push it down again. And maybe, unexpectedly, you find out that instead, of revamping your anger, those memories produce an unexpected sweetness.”

“I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.”

“I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the ­envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.”

“You see, one strand...of anarchism believed that you needed to use essentially homeopathic doses of terror by assassinating people, et cetera, the so-called 'propaganda of the deed', and that this propaganda of the deed would rouse people up, give them confidence to rise up. Another section believed 'No, it was not by seeing something happen that people get confidence, but it's by acting', in other words, the movements must go among the people and produce small struggles, bigger struggles, to give people greater and greater confidence.”

“First you document your idea. You should be comprehensive, but that doesn't mean you have to produce a doctoral thesis length plan. Rather you want to make sure you have touched all the different things that have to happen to succeed. Then, you evaluate your approach. The goal here isn't to figure out if your idea is good or bad, but rather to begin to figure out what are some of its weakest elements.”

“People just want to see something happen that is positive for them in their lives. If you're struggling to pay your student-loan debts, or if you've got a kid trying to go to college and don't think you're going to be able to afford it, it really matters whether you get help or not. If you don't have health care or you have insurance but the insurance company won't pay for what your doctor says you need, then what's the point of people arguing in Washington? Why don't you give me some help to fix this problem? I will work with anybody if I think we can actually produce results for people.”